何為音質?(上集)
Date: 2024-04-09
對音響設備的重播聲音好壞沒有完善的標準,也難以用一定的電氣標準來規範。 通常音響器材提供的技術參數,都是用正弦波測量所得,而實際的聲音訊號卻是由多種同時並存的訊號組成。 它們的振幅、變化速度各不相同,且多為不重複、不對稱波形,具有瞬變特性,故而用正弦波測得的參數並不能客觀反映音響器材重播聲音音質的優劣,也就是音響器材的重播聲音質素,並不能以技術指標、規範要求等定量或定性的評量作出準確的結論。 ......
Date: 2024-04-09
對音響設備的重播聲音好壞沒有完善的標準,也難以用一定的電氣標準來規範。 通常音響器材提供的技術參數,都是用正弦波測量所得,而實際的聲音訊號卻是由多種同時並存的訊號組成。 它們的振幅、變化速度各不相同,且多為不重複、不對稱波形,具有瞬變特性,故而用正弦波測得的參數並不能客觀反映音響器材重播聲音音質的優劣,也就是音響器材的重播聲音質素,並不能以技術指標、規範要求等定量或定性的評量作出準確的結論。 ......
Date: 2024-04-08
輯錄自《u-audio》
如果你關注音響新聞,一定知道 PMC 在 2023 年發表了全新系列,而且定位在入門級距,是市場上殺手級的產品。如果你去年 8 月和 12 月都有去圓山的音響展,且進去過瑩聲的房間,一定看到過這個新發表的 PMC。這個我所謂的殺手級喇叭,就是 PMC 的 Prodigy 系列。
Prodigy 系列是 PMC 將目標指向更多家庭、指向年輕世代的產品。一直以來,PMC 與音樂產業深深連結,作為最著名的鑑聽喇叭品牌之一,PMC 深入了各大錄音室,是錄音師完成音樂製作的好夥伴。PMC 在 Prodigy 系列上所欲呈現的,就是把他們多年來應用在錄音鑑聽上的工程技術,與追求高傳真的理念,落實在全新可負擔的輕巧作品上。
堅持傳輸線式箱體,並且精益求精
Prodigy 系列共推出兩款,一款是書架式喇叭 Prodigy 1,一款是小型落地喇叭 Prodigy 5,兩者使用了 PMC 新設計的單體,並都搭載了 PMC 先進傳輸線的招牌技術(Advanced Transmission Line, ATL)。PMC 是極少數至今仍堅持製作傳輸線喇叭的廠家之一。
在 20 世紀 30 年代就出現了傳輸線喇叭,可是,為了容納傳輸通道,喇叭往往又大又重,而且諧振頻率的控制、單體與傳輸線之間的耦合、傳輸線開口配置的優化等問題,讓傳輸線喇叭雖然可以再生深沉的低頻,卻有許多其他問題有待解決。就在許多廠家紛紛打退堂鼓,傳輸線喇叭漸漸失去舞台之時,PMC 出現了。他們撐起了傳輸線喇叭一脈,投入大量資源研發並精進傳輸線的設計。今日當我們說起傳輸線喇叭,第一個想到的就是 PMC。
PMC 首先為傳輸線通道上的阻尼泡棉制定出規格,讓高頻、中頻的吸收達到均衡,並且適當處理低頻的諧振。他們還在喇叭箱內設計了特殊的諧振吸收腔室,這樣一來,PMC 就更能控制所不欲的諧振頻率,進而降低失真,發聲更為線性。此外,開口也是重點。PMC 為了更流暢地導出氣流,且盡可能降低空氣流體在開口處的擾動導致氣流噪訊,從 F1 的流體力學設計汲取靈感,提出 Laminair 專利技術,在傳輸線開口設置分隔層板,從而減少了不必要的氣流擾動,降低氣流噪訊的同時,也提高了低音的敏捷度和清晰度。
因為 ATL 先進傳輸線箱體,讓 PMC 喇叭可以發出超越自身箱體尺寸的低音,且有更大的動態餘裕。此外,一般低音反射式喇叭,往往需要讓音量開到一定程度,達到一定的低音響應,聲音才會好聽。可是,PMC 的 ATL 箱體設計讓喇叭可以在任何音量下都保有完整的頻寬和動態。Prodigy 系列雖然是 PMC 旗下最入門級的喇叭,依舊採用了比起低音反射式製作成本更高的 ATL 傳輸線箱體。
移植自專業鑑聽喇叭的高音
Prodigy 5 和 Prodigy 1 的單體一樣,都是 PMC 特別開發的專屬單體。高音是一個 27mm 的絲質軟半球高音,比起常見的一吋直徑高音要稍微大一些些。這個高音是從 PMC 專業用鑑聽喇叭 Result 6 發展而來,同樣用在 Ci 系列的嵌入式喇叭上。高音開口邊緣稍稍以弧形下切,帶有導波效果;單體前方則有蜂巢式金屬網罩,不但保護單體,更可透過金屬網洞增進擴散性和效率。
LTTM 天然纖維振膜低音
低音用的是一個 133mm 的長衝程單體,振膜用料是 LTTM 天然纖維,錐形振膜的中央不見常見的半球體防塵罩,而是貼合錐盆角度構成一個完整的弧面整體。原廠表示,這麼做可以降低單體表面多餘的高頻反射。低音單體以強力鐵粉芯磁鐵為動力核心,配合長衝程設計,單體尺寸雖然不大,低頻能量卻很足。
Prodigy 5 就跟 Prodigy 1 一樣低調,消光黑色的漆面外觀,沒有貼皮,沒有多色可挑。底部在延伸出去的支架下可安裝金屬腳錐,透過旋入式腳錐,用家可以微調腳錐的高度,調整喇叭水平。喇叭端子只有一組,使用上比較單純,也更直覺些。
Prodigy 5 看起來就像是長高的 Prodigy 1
Prodigy 1 我約莫半年前寫過報導,這次聽的是落地款 Prodigy 5。事實上,Prodigy 5 可說是 Prodigy 1 的拉長版,喇叭的寬度、深度都一樣,單體配置的也都一樣,活脫脫就是一個長高了的 Prodigy 1。把兩者的規格數據擺在一起看,甚至會驚訝怎麼這麼多數據都相同,即或不同,也甚是相近。唯一比較明顯的差別,就是頻率響應,Prodigy 1 的低頻只能下潛到 50Hz,Prodigy 5 的低頻則可潛到 35Hz。
基於共享了諸多設計元素,Prodigy 5 的聲音和 Prodigy 1 在特徵上非常相近,但是,多出來的那一截箱體,賦予了 Prodigy 5 更寬鬆的聲音,更深沉的低頻,以及更渾厚的聲底。Prodigy 1 顯得比較清新,Prodigy 5 則更為沉穩。如果空間夠大,擺得下落地喇叭,加一點預算,直上 Prodigy 5 絕對值得。
羽量級選手打出重拳
我在 U-Audio 的試聽室,以 Pass XP-12 前級搭配 X250.8 後級來推 Prodigy 5。這樣的搭配雖然在售價上不太平衡,但借助於 X250.8 的 350W 功率驅動 Prodigy 5,我得以更認識 Prodigy 5 的本事。以 Friend’ n Fellow 演唱的「Light My Fire」一曲為例,女歌手 Constanze Friend 的歌聲形體飽滿,聲嗓溫厚,發聲的紋理在良好厚度的支撐下,呈現出充滿安定感的清晰度。吉他手 Thomas Fellow 的琴音鏗鏘,彈到低音時,Q 彈的音粒蹦跳而起,畫面活生。一聲強音頓下,Prodigy 5 的能量隨即奔湧而來。雖然是落地款,身形卻是小小瘦瘦,重量區區 10 公斤,十足一個羽量級選手。可是,你聽這個有力的強奏,你聽這個飽滿的人聲,你聽這個燦亮的光澤,你聽這個開闊的畫面,你聽這音樂,哪裡像是這麼小的喇叭所發出的?
這等鼓聲,怎能不 high 爆?
放起 Dire Straits 的「Brother in Arms」專輯,Prodigy 5 更是顯出它的本事來。「So Far Away」一曲裡貫串著穩定的節奏,電貝斯最先出來,然後就是鼓組的強力節奏。聽這個 tom tom 鼓聲,強勁而爽脆,幾聲大鼓踩下,渾圓飽滿又沉重的鼓聲,當即豐富了這個節奏。電吉他、電貝斯、鍵盤、合成器、人聲和聲摻和著放送出來,就像是有畫面般活生,但私心以為,這首歌裡什麼都比不上那個鼓。Prodigy 5 的鼓聲真是厲害,它乾脆改名叫「Prodrumgy 5」好了。「Money for Nothing」悠遠的人聲和伴奏,像是夢囈一般的開場,就在強悍的鼓聲中被打破。這鼓聲漸進式的展開,直到炸裂後,帶出電吉他失真的旋律。聽聽看這個,音量開大一點,那透明的畫面裡,竄出一個個張狂的樂手,聽 Dire Straits 太老派了嗎?用 Prodigy 5 聽,什麼年齡都要 high 爆。
超出想像的低頻實力
這麼小的落地喇叭,低音有多猛呢?讓 markusphilippe 這個二重奏來告訴你。聽他們的「Saxnbass」專輯,單是一望專輯名稱便知這裡頭的曲子在幹嘛。沒錯,簡簡單單的編制,一把次中音薩克斯風,一把低音提琴。次中音薩克斯風那粗糙的、帶著沙礫感的、有著金屬質地的聲音,其斑斑紋理一覽無遺。至於那把低音提琴,龐大而深沉,龐大指的是其形體規模,深沉自然指的是音調。這樣大把的低音提琴,在落地喇叭上呈現,本該有書架喇叭所不及的規模感。可是,像 Prodigy 5 這樣小的落地喇叭,像它這樣不過一顆 5 吋低音的小落地,低音竟能潛得這麼深,並且還能保有一定的解析力,讓提琴的撥彈聽來清晰可辨。能這樣清楚地把低音提琴豐厚而有重量的低音表現得這麼好,也難怪乎 PMC 原廠不怕場地大,不怕行家多,在 2023 年的慕尼黑音響展裡,就用一對 Prodigy 5 來告訴人 PMC 的技術底子有多強。我這麼一直誇,你若沒親耳聽見,不怪你覺得我在空口白話。
聽這波瀾壯闊,真是太厲害了!
我前面說到它可以表現大場面,我以「The World of Hans Zimmer」這張現場實況錄音為例,在「獅子王組曲」裡,描述主角小獅王辛巴的誕生,以樂團配合人聲展開的音樂,和諧而充滿希望。接著導入緊張刺激的樂段,這段曲子是描述辛巴受騙而深陷奔馳的牛羚群中,獅王父親趕來援救至終身死谷中。聽那強悍的節奏,厚重的和聲,Prodigy 5 以一種不讓大喇叭專美於前的姿態,用這段音樂把人帶回電影場景之中。組曲最後一段最是精彩,那是成年的辛巴擊敗惡叔後稱王,並生育後代,象徵大地生生不息,富有生機的循環。這裡的和聲最飽滿最豐富也最厚重,管弦樂團加上人聲,再加上澎湃的打擊樂,帶出恢宏壯闊的氣勢。小喇叭有這樣的大場面,豈止是厲害而已,這是很厲害啊!
低頻沉重、層次清晰、規模龐大,處處出人意表
PMC 有一句經典的 slogan,「the speakers that make the movies」,是誰家的喇叭呢?當然就是 PMC。他們的喇叭深入各大專業錄音室,甚至在 1996 年獲得艾美獎的「最佳錄音貢獻獎」(Contribution to recording excellence)。所以,每每遇到 PMC 喇叭,我總是要聽看看電影原聲帶。以電影「沙丘」的原聲帶為例,在「Dream of Arrakis」裡,強勁生猛,且帶著爽脆質地的打擊樂席捲而來,配上接踵而至深沉的鼓聲,那個像是心跳般的節奏,引人進入對未知宇宙的無邊想像裡。最後那加入人聲堆疊出來的聲響,聽來教人血脈噴張。至於「Herald of the Change」特製的管樂,發出宛如人聲的聲音,反覆的旋律被一聲強勁低音給打破,隨後音響一層比一層厚實。那低頻,很沉重;那層次,很清楚;那規模,很龐大。還是那句話,Prodigy 5 的表現太出人意外了。
換 40W 管機推,甜美迷人,沒有遺憾
Pass X250.8 的驅動力強悍,加之以其售價,購買 Prodigy 5 的人並不會這麼搭配。我換上華克音響的 EL34 真空管綜擴,聆聽 Alice Sara Ott 的「Nightfall」獨奏專輯,德布西的「夢」透過踏瓣和觸鍵,營造出的柔軟且迷濛的音色,於此聽來真是美極了。至於「貝加馬斯克組曲」,前奏曲裡充滿歌唱性的抒情曲調,透過分解和弦帶來詩意又夢幻的氛圍。琴音晶晶亮亮又顆粒圓潤,帶著一點點 EL34 賦予的甜味,像是灑了糖霜的糕點,這等迷人,和之前所提及的那樣壯闊的、強悍的風情截然不同。這是 Prodigy 5 的另一面。民謠風的小步舞曲,俏皮之中仍帶著優雅姿態。至於「月光」,聽那如夜間湖畔,晚風輕撩下,盪開映照在水面上的明月,隨著波光閃耀著、搖曳著;溫潤的光澤,豐盈的音韻,可美了。40W 的 EL34 管機推起來,這份甜美,這等可人,Prodigy 5 照樣能夠達意地重現德布西音樂的美。
你可以告訴我還有什麼更好的選擇?
英國 in house 製造、傳輸線箱體、各大錄音室背書,這樣一對落地喇叭,售價不到 10 萬,還有什麼更好的選擇嗎?Prodigy 5 擁有的不只是自家公司三十餘年所累積下來的聲譽,它確實有本事。而且,它的本事,足令 PMC 為之驕傲。
器材規格
設計:2 單體 2 音路傳輸線式落地喇叭
使用單體:27mm 軟半球高音單體×1,133mm 長衝程 LTTM 天然纖維中低音單體×1
頻率響應:35Hz – 25kHz(-3dB)
阻抗:6 ohms
分頻點:1.7 kHz
效率:87.3 dB
最大音壓:123dB
建議擴大機功率:20 - 250W
有效傳輸線長度:1.96m
水平指向性:80 度
垂直指向性:70 度
尺寸:905×162×237 mm(H×W×D)
重量:10 kg
Date: 2024-04-03
Siltech 頂級的 Symphony 和 SAGA以及 Triple Crown 線材,以追求最高水平完整性和卓越性來重現音樂。音質在很大程度上取決於設計;電路的構思方式、每個組件的影響、傳導信號的材料以及對外部噪音源的屏蔽等等。 Siltech 工程師數十年來對聲音性能進行的廣泛研究成果,構成了所有產品的基礎,最終創造出令人驚歎且名副其實的美妙聲音。
名額有限,歡迎從速報名參加!
2024 年 04 月 20 日 (星期六)
時間 : 下午 2:30 – 4:00
地點 : 新漢家庭娛樂中心 / 灣仔駱克道188號兆安中心5字樓
名額 : 18 位
主持 : Raymond Chan
嘉賓 : 音響技術 / 草哥、Martin
電話報名 : 2489 8068
網上報名 : https://reurl.cc/Xq1zLM
示範器材
Siltech Symphony 大型座地揚聲器
SAGA C1 Control Amplifier
SAGA V1 Voltage Amplifier
SAGA P1 Power Amplifier
Royal Triple Crown 線材
Burmester 069 CD 唱盤
217 黑膠唱盤
OCTAVE Phono Module 唱頭放大器
Date: 2024-04-03
輯錄自《普洛影音網》
創立於1983年的Siltech在40年的品牌歷史裡造就不少經典線材,而驅動他們家線材成名的最大關鍵,莫過於Siltech出色的自製導體技術。從1984年開始,Siltech便研發出自家第一款G1導體,當時他們就是以銀線起家。
後來的第二代G2也是純銀線,但原廠改良了導體製程,使得導體晶面間隙更少,殘留的雜質更低。第三代G3則將重點放在銀金合金導體,做法是在原本的銀線結晶間隙內另以24K金做填補,不僅在聽感上取得明顯優化,更讓銀金合金線於音響圈聲名大噪。
40週年的回饋大禮
隨著Siltech單結晶純銀的每一代進化,原廠的冶煉技術也漸漸提升到令人驚奇的水準。以新一代S10單結晶純銀導體為例,原廠重新針對溫度以及鑄造時間進行調配,透過更緩慢的抽拉速率,將完美表面的單結晶純銀導體面積最大化,幾乎將結晶間隙化於無形。
而就測試數據來看,Siltech新一代S10單結晶純銀導體與傳統銀線相比,傳導率更高達112%,耗損極低。當初在評測新款Royal Crown系列線材時,我很清楚知道新一代S10單結晶純銀導體能為音質音色帶來如何驚人的提升能力。
唯一感嘆的大概是昂貴定價並非所有音響迷能輕鬆負擔。而這次評測的Ruby Crown XLR平衡線,就是原廠針對創立滿40週年所推出的限定大禮,也是目前所有採用最新S10單結晶純銀XLR平衡線裡,價格最實惠的一款。
做工與技術均是頂尖
當初一拿到Ruby Crown XLR時我非常訝異,因為它無論外型、作工,還是原廠盒裝都非常講究,幾乎與過去評測過的Royal Single Crown XLR相同。原廠同樣是以經典海軍藍線身搭配接近端子頭那一節淺藍,描繪出Siltech最具標誌性的配色外型。
但高階的Single Crown XLR採用了Oyaide Focus端子頭,外觀為銀色;而這次Ruby Crown XLR則用上ETI-Research Kryo XLR製品,外觀為黑色,因此還是可由肉眼上第一時間判別。
在線身內部,Ruby Crown XLR採用了最頂級的S10單結晶純銀導體,但股數與Single Crown XLR不同。Ruby Crown XLR為3芯導體架構Triple Helix螺旋絞繞結構,而更高階的Single Crown XLR則具備6芯導體架構出Hexagon平衡結構。
另外,Single Crown XLR的線身厚度也比這次的Ruby Crown更厚實一些,內中的空氣絕緣做得更足。但兩者同樣都用上了Kapton與Teflon做屏蔽與絕緣,搭配新一代Wide-Range shielding全屏蔽技術,還是非常令人期待Ruby Crown XLR的音質表現。
整體來看,Ruby Crown XLR的導體股數減少了,端子頭用料也不同,而線身結構也略微簡化。除此之外,主要設計內容皆與高階Royal Crown系列看齊,但產品定價則少了1/3。我認為只要Ruby Crown能做到Royal Single Crown八成左右的音質表現,便是超值。
能與旗艦媲美的紅寶石
這次我除了將Ruby Crown XLR帶回家,也在公司以不同音響系統做參考。在家裡我將XLR接在MSB Discrete DAC與Gryphon Diablo 120之間,我發現Ruby Crown確實就是線如其名,是系列中值得挖掘的紅寶石。
線材散發出的透明甜美音色可以讓人第一時間就認出這是出自Siltech之手無誤;能將小提琴唱得細膩動人,又能將每條旋律線刻畫出輕盈躍動的空氣感,彷彿在空氣中漫舞,完全是高階線材專屬的高級音色,與過去記憶中的S10單結晶純銀印象相符。
這次從Focal Diablo Utopia Evo喇叭上重播,我發現在加上Ruby Crown之後鋼琴與弦樂的音色魅力都提升了。例如在聽Jennifer Kloetzel與Robert Koenig合奏的貝多芬鋼琴與大提琴室內樂,聽見的大提琴聲音就特別飽滿,不僅木頭味足,音色厚實迷人,就連擦弦的色調變化也顯得更為豐富。
幾段低音域的演奏細節,在此線優異的解析力與透明度加持下,好像喇叭可以往下再多延伸幾個Hz一樣,低音域的延伸特別清晰漂亮,下盤絲毫不臃腫肥厚,真是一條非常有氣質的平衡訊號線啊!
當聆聽空間換在社內聆聽,我將音響系統換成Kaiser Kawero Furioso Mini喇叭,並由Esoteric F-05驅動,此時我將XLR接在COS D10與綜擴之間,結果聽見的音質音色效果同樣明顯。
與社內參考線材相比,Ruby Crown唱出來的弦樂體型就是更浮凸、更飽滿,能量感更強。在聽「羅西尼:六首弦樂奏鳴曲」,我很喜歡這條線能在恢弘的氣勢中夾帶著一股很有彈性的控制力,將弦樂的體態描繪得相當動人。聲音密度高,卻絲毫不強勢,三頻分佈均勻,就像一位笑容甜美的氣質美女,人見人愛。
無論是在公司還是在家裡,聆聽Ruby Crown XLR總能為音樂增添多一層的甜美味道,這讓空氣感顯得透明,讓高頻美感更顯飄逸,也難怪許多人在聽了Siltech之後會念念不忘,畢竟不是每個線材品牌都能這樣自帶仙氣,我認為此線確實做到了可與Royal Crown媲美的高水準表現,以下犯上的意圖相當明顯!
透明低頻散發龐大音場
此線的低頻表現如何?同樣很好,即便Siltech向來不走下盤特別飽滿的金字塔結構分佈,但在聽瑞典電子二重奏Gidge那張「New Light」,Ruby Crown XLR很輕易就轉變了試聽室的空間氛圍。聽見的電氣音色除了飄逸之外,分離度也超高,使得喇叭瞬間化於無形,就這樣讓迷幻音色在空氣中不斷變換。
我特別喜歡Ruby Crown XLR推出的電子低頻即便高密度,卻也帶著一種輕盈律動的彈性與微動態效果,尤其在大音壓重播下,凝聚的低頻能量依然不會渙散,輪廓完整,高分過關!
更低預算享受旗艦音質
要推薦Siltech線材從來不是一件困難的事情,他們家的線材不僅音質好、作工好,市場上的二手價也穩定,收藏價值高。重點是聲音風格極具鮮明,不會換上後覺得改善若有似無,不用於想像中自行腦補,升級感強烈,屬於一試有感之類型。這次評測的Ruby Crown XLR訊號線,讓您可以用更低預算,享受Siltech的旗艦音質,無疑是想親身感受S10單結晶純銀導體音質魅力的極佳選擇。
規格:
XLR平衡線。採用S10 Monocrystal Silver單結晶純銀導體,採用3芯導體Triple Helix螺旋絞繞結構。採用Kapton、Teflon絕緣材料,搭配自家Wide-Range屏蔽技術。使用ETI-Research Kryo XLR平衡端子頭。
Date: 2024-04-01
德國 Hi-End 品牌 Burmester 一向以高音通透細膩華麗及精準傳真的音樂表現,成為許多音響發燒友的追求目標,基於對完美音樂重播的要求,Burmester產品的售價也因此居高不下。話雖如此,Burmester 仍然推出一些價格相宜的產品,例如 101合併機和 102 CD 機,可以說是為了讓更多人能欣賞到Burmester的美聲,絕對是擁抱該品牌的最好選項。在保證聲音質素的前提之下,配搭揚聲器須襯托得起 Burmester,同時價錢亦不能太貴,因此選來 PMC 剛推出的新品種 prodigy 5 座地揚聲器便符合各方面要求。
Burmester 101 合併擴音機
作為 Burmester 的踏腳石產品,101 合併擴音機和 102 CD 機無論在造型和做工及用料方面保持一貫的高水準。101 採用了D類的平衡放大電路結合模擬電源供應,並堅持全平衡式的電路設計,貫徹廠方對聲音的完美要求。Burmester的這款101合併式放大器也細心照顧到用家將來的升級需要,可以作為前級使用,配搭更大輸出的後級來驅動更大型的喇叭。101的良好控制力也源自於擁有大於250的阻尼因數,驅動力也十分強勁,每聲道在4Ω負載下達到120W輸出。低於0.015%的總諧波失真值,已經達到高階放大器的水準。除此之外,還配備耳擴功能,就算驅動高阻抗耳機也能輕鬆駕馭。享受立體豐潤之美妙音樂旋律。
Burmester 102 CD 機
102 CD 機承襲 Burmester 的一貫外型風格,光可鑑人的鍍鉻面板與精緻鋁合金機殼。數碼至模擬的轉換部分搭載了與中高階061 CD唱機一樣的技術,具有升頻功能,取樣格式為24bit/96kHz以及24bit/192kHz兩種規格。與其它Burmester的產品一樣,102採用全平衡電路設計與完全直接耦合訊號路徑,免除了相位差所產生的失真問題。打開CD機頂蓋,可以見到Burmester大手筆所使用的一個大型環形變壓器,藉以提供充沛的電源供應。供電線路佔據了 1/3 的機箱空間,而中間的D/A轉換和模擬輸出級亦各佔據了三分一。至於CD傳動機構雖非貴品,但依然展現 Burmester 對製作的嚴謹性,它以整片鋁合金覆蓋以抑制震動,模擬輸出級及緩衝電路也採取全平衡式架構,同時供給平衡、非平衡與錄音輸出端。即使是 D/A 部份,更採用了高精度晶振,提供精確穩定的時脈訊號。
PMC prodigy5 二路座地揚聲器
PMC 在構思 prodigy 系列時,其想法是盡量使其價格實惠,讓更多的聆眾能夠享受到他們努力的成果。為了實現這一目標,PMC 採用了為專業型號開發的驅動單元,其是在result6 近場監聽器中看到的軟半球體高音單元,而中/低音單元則是用於PMC 的Ci定制安裝系列。高音單元採用大離軸擴散設計,擴大了聆聽的“最佳位置”,以便更多的人可以享受相同的音質,而加強低音則使用 PMC ATL箱體設計,還有該公司氣流平滑的 Laminair 排氣端口技術。ATL 在揚聲器內採用折疊式管道,將來自中/低音單元後部的低頻能量,轉化為前障板底部排氣口的額外輸出,從而加強低音。而 Laminair 則增強了這種效果,同時降低氣流噪音及失真。
整體聲音表現
當 101和 102 配搭 PMC prodigy5揚聲器時,即使在大音量播放下的表現也毫不勉強,低頻不但衝擊強勁,質感紮實,而且好像加了超低音喇叭一樣,表現出一股直往下鑽的重量感與充足的低頻延伸,這顯示 101 擴音機不但推力強,而且控制力也非常優異。102 CD 機在各種樂器的質感上也有極佳的表現,盡顯精雕細琢的華貴之感,在音響與音樂上取得理想的平衡,樂器質感顯得穠纖合度,表現出適切的真實感與流暢感。低頻段可說是這套組合在聲音表現上的強項,整體展現出相當堂皇的氣勢,節奏顯得非常穩重,毫無造作之感,極低頻的樂段不疾不徐的湧出,與整體音樂有著無比的和諧感,造就了流暢的音樂表現。音域相當均衡,重播的音樂顯得非常流暢而活躍,表現出富有彈跳力的動態對比與節奏感而毫無紊亂。重播鋼琴錄音,101可以輕鬆展現出大型三角鋼琴的宏偉氣勢,要聽到這種輕鬆、從容、大器的鋼琴演奏,通常必須出動大功率後級才行,怎麼可能只靠一部體積不大的D類擴音機就能辦到?
Date: 2024-03-27
The English Electric company have introduced a new line of products specifically to help improve your audio and HiFi experience by eliminating noise from entering your system via your network, the latest product that I have here for review is the EE1 which is a high performance network noise isolator, they also offer an EE 8Switch and 16Switch which can all be used to improve your performance and remove unwanted noise which can make or break your systems overall performance. English Electric is part of the Chord Company which is renowned for their superb cables and impeccable R&D which is second to none when it comes to quality and design.
I was first introduced to the potential of noise entering into my HiFi system via my network when I had the pleasure of reviewing the brilliant Melco Audio S100 data switch which was then partnered with Melco's streaming products, it was a kind of revelation for me as the benefits that the data switch had were clearly heard with a lower noise floor allowing better clarity to my music and overall an improved soundstage, instruments and their fidelity were more coherent than without the switch in place, these options were costly but had great benefit to my music and listening pleasure.
The EE1 is a very small and compact piece of kit and has two ethernet ports which has arrows to show which way to connect into your network and can be used in a few configurations to benefit your system, the first and one that I am using it in, is connected from my network switch to my Bluesound Node streamer, this is the most basic and easiest of configs although you can use multiples where by you have one connected between the router and switch and then streamer and switch this can benefit by stopping noise at both ends of chain. You could potentially also use either an 8Switch or 16Switch so that greater improvements in the noise reduction can be made with these units in place.
The EE1 is a self powered unit and works by eliminating and turning noise into heat as the units are designed with galvanic isolation allowing your data to flow to your equipment with the data integrity intact, it will block HF and LF noise and if like me you have many parts to your system the standard ethernet cables are not shielded and therefore are easily perceptible to picking up noise from the surrounding cables they are next to, using a C-Stream ethernet cable which is the starting point is also a good option and depending on your budget you can upgrade these to some of their higher end cables if you want to at a later stage.
For listening purposes I am using the Chord Electronics system which consists of the Hugo TT2 DAC and M Scaler and the latest power amplifier BerTTi which is a stunning combination offering a truly higher resolution for my music which are partnered with the equally stunning AVID HiFi EVO Four speakers, Bluesound Node 2i for the streaming of my music stored on my NAS drives and also music streamed from Tidal and Spotify. This is all wired with Chord cables and the EE1 sits between my switch and streamer with the C-Stream cable connected to the Bluesound Node.
I have been listening to Norah Jones latest album Visions which I have in high resolution 24bit 96kHz, this is another superb album with some great tracks from this American Jazz artist. Track 8 Awake is easily my favourite on this album with some great percussion and vocals, listening to this track without the EE1 in place there is plenty of drive and dynamics but when the EE1 is introduced suddenly there is more snap to the percussion and vocals have a cleaner and crisper more defined sound. I then repeated my tests but this time with the EE1 placed between the router and the switch to see if this improved the sound that I was hearing, listening to the same track it lost the snap and the vocals sounded dull in comparison to the first setup, not massively but certainly the bite that my system had originally, it is clear that the EE1 benefited from my first introduction between the switch and streamer, it could possibly be improved with 2 EE1s in place and also a better shielded Ethernet cable as the C-Stream cable was not long enough to use from EE1 to the switch/router. Track 12 That’s Life reafirms the benefits of the EE1 in my system with a beautfully articulate sound that has plenty of drive and snap to the percussion with wonderful vocals from Norah Jones and removing it makes the track less enjoyable with a flatter sound losing some of the musicality from the track.
I now switch to streaming from Tidal and an album from 2012 and the Mickey Hart Band Mysterium Trememdum, Mickey Hart Band was formed from the former and legendary Grateful Dead Drummer Mickey Hart, this is a wonderful mixture of electronics fused with rock music, the AVID HiFi EVO Four speakers that I currently have are truly amazing and have incredible bass reproduction for a standmount speaker thanks to the advanced technology and design allowing for the bass to be heard with so many wonderful textures to the bass, it’s not just the bass but the mids and treble are also exemplary in presentation so any small benefits to my system can easily be heard. Track 1 Heartbeat of the Sun is a beautifully produced ambient sounding track with sounds that swirl around the huge soundstage that is being produced, listening with the EE1 in place the haunting vocals emerge from the centre of the soundstage with the ambient sounds all around the room, listening to it without the EE1 in situ the track loses some of the energy and snap in the percussion which all detracts from the enjoyment of the music, this is again evident in track 3 Cut the Deck. I try rhe EE1 placed between the router and switch but it just does not have the same results so no real improvement to the sounds which leads me to the conclusion that noise is entering into my system from where the switch to the Bluesound Node is, this is where I am getting the real benefit of the EE1 being in my system with so many different power and other cables located here.
Conclusions and Final Thoughts
It’s clear that the EE1 placed in my system benefits with improved noise reduction and therefore better sound and also from the tests that I have done when placed strategically between the switch and streamer, when you consider that the EE1 is a tenth of the price of the S100 data switch that I reviewed this is an absolute no brainer and bargain and certainly worth investing in to improve your systems musical ability, multiples could be purchased to potentially give even greater improvements to your system and the sound that you hear. It proves it is an effective and worthy investment.
The Speaker Shack awards the EE1 with a 5 stars Highly Recommended award !
Date: 2024-03-26
The Octave V70 Class A attempts a special balancing act: It wants to be an integrated amplifier that combines the precision of the transistor with the tonal beauty of the tube and the Class A circuit. That worked out pretty well...
The tube specialist Octave has created its own league in the world of hi-fi: tube amplifiers that not only sound “nice”, but also particularly authentic. That has always been the approach of Octave boss Andreas Hofmann, who can lament for a long time about today's sound zeitgeist. Hofmann: “Today, a lot of things just have to sound nice. That's not my way. It has to sound right to me. Because beautiful sounding tube amplifiers are usually far too dependent on the connected speakers. Octave integrated amplifiers must sound good on all good speakers.”
Hofmann has proven this universality many times; His V80 SE was the amplifier reference for LowBeats for a long time. And although (or perhaps because) he is an absolute tube specialist and owns a winding system for transformers, Hofmann does not rely exclusively on glass bulbs. Semiconductors are also used where it makes sense - simply because they sometimes provide much better long-term stable working conditions.
And that's exactly what makes an Octave special: you always know that you'll make a friend for life. I have had two Octave components over the past few decades: the HP 200 preamplifier and the V40 integrated amplifier. There was never anything about them...
For this longevity, the Octave V70 Class A presented here has a few peculiarities that also distinguish its brothers. For example, there is electronically monitored overload protection, the controlled ramp-up of all heating and anode voltages and, last but not least, the so-called ECO mode, which switches off after a few minutes without a signal in order to gently restart with a signal. We know this from modern subwoofers. But such a life-extending mode is particularly useful for tubes.
The special features of the Octave V70 Class A
The V70 SE is a long-standing member of the Octave family. The biggest difference to the newer Class-A version is already in the name of the amplifier and makes high-end drivers sit up and take notice: Class-A.
In principle, Class-A has disadvantages in tube circuits - namely more components in the signal path. The concept with the higher quiescent current also sounds different, often even a little less dynamic than a classic push/pull setup - also because it necessarily has less power. But most music lovers find the Class A sound to be more pleasant, rounder and finer. Hofmann: “Technically it’s actually a step backwards, but sonically it’s a step forward…”
That's why he's happy to take this step, but garnishes his Class A circuit with a few subtleties. Hofmann developed the “Dynamic Operating Point Setting” (DBC). Behind it is a self-regulating Class A amplifier, which, if necessary, leaves its Class A range and then continues to work in the Class B range with a significantly lower quiescent current.
Is there cheating? “A little bit,” Hofmann replies with a smile. “But it’s better if the V70 Class A doesn’t have to round off the upper dynamic peaks, right…? He's right, especially since the takeover distortions of classic A/B circuits are not as big an issue with tubes as they are with transistor amps, where these takeover distortions sound unpleasant from half-wave to half-wave. In any case, the DBC concept has proven itself so well that Hofmann wants to continue pursuing this line very soon.
Practice
The mere fact that I am including a section on the topic of practical friendliness with a (actually simply equipped) tube amplifier shows the exceptional position of the V70 Class A. For example, there is the auto-bias circuit: A controller in the amplifier can adjust itself to the four inserted power tubes. That is laudable. Anyone who knows Octave devices: The tried and tested BIAS measurement, which showed the status with the colored LED traffic light and was adjusted using a screwdriver, is still available, but only for functional testing.
The functions of the V70 Class A are comparatively diverse. It offers 6 x high-level inputs, a regulated preamp output and the option of integrating the amplifier into a home cinema system. The settings for the ECO mode and the power range (Low/High) can also be found on the back.
And that brings us to another special feature of the Octave. The V70 Class-A can be operated in two optimized performance states: in “Power High” or “Power Low” mode. Since this is a Class A amp, the power output is naturally lower than with standard push-pull circuits. Our test model was equipped with the powerful KT 120; With it (or a KT 150) you can get the maximum performance (around 50 watts per channel). If less power is required (i.e. around 20 watts per channel), you can move the red switch on the back of the amplifier to “Low” and this will also optimally control a weaker tube like the 6550. Hofmann: “The 6550 from JJ in particular are comparatively cheap and sound really good.”
Of course I tried it out and luckily found a pair of JJ 6550 tubes in my stash. Result: Hofmann is right. The V70 Class-A sounds a bit finer with the 6550 in low mode. The KT 120 is an excellent tube, but there are even better ones out there. And if 20 or 25 watts are enough...
And then there is the possibility of expansion via the so-called black boxes. Hofmann sent me the large Super Black Box (price 2,400 euros) to try out. Thanks to a battery of twelve high-performance capacitors, it quadruples the sieve capacity of the V70 Class A. This expansion of the power supply not only increases the impulse power, but also the ability to drive electrically difficult loudspeakers much better.
During the listening tests we mainly used our two loudspeaker references, the FinkTeam Borg and the AudiaZ Opera belongs. The V70 Class A drive both confidently up to the expected level limits. However, its performance with the Super Black Box connected was noticeably better in both speaker cases.
It's not just about better bass control - of course that's also an added factor. No: Rather, the room opens up further and the entire sound image seems to emerge a little more effortlessly. Knowing full well that the V70 Class A will be a good 25% more expensive as a result, my urgent recommendation is: please go with it!
Hearing test
The listening tests were then carried out almost exclusively with the Super Black Box connected and with the more powerful KT 120 tubes. And in this configuration, the V70 Class A sounded pretty much as I expected. Despite tubes (which basically have a little less bass control than transistor amps due to their high impedance) and despite the class A circuit, which sounds even nicer and warmer, the Octave offered a downright refreshing bass performance. During the electro-pop classic “Oh Yeah” by Yello, he pushed the sub-bass into the listening room so forcefully via Audiaz Opera that we initially looked at each other in disbelief: Does a tube like that play with just 50 watts? Usually not.
Especially since it's not just about the bass: The Octave celebrated a wonderfully finely chiselled, very open sound in which all the details are precise but not superficially fanned out. I'm a big fan of Andrea Kleinmann's "Saitenwind", a solo harp recording in the monastery church in Lorch that has a great sound.
The recording from the summer of 2023 was made by LowBeats colleague Jürgen Schröder. That's why I was relatively close and know what it sounded like there. And all I can say is that the recording with the combination of V70 Class A and AudiaZ Opera came damn close to the recording moment. The strings swayed so naturally, so finely, so effortlessly and at the same time so physically; the whole instrument was noticeably in the room. I can't remember ever having heard the work so authentically before.
I was so excited that I listened to the harpist's entire CD - even though the CD is quite short. To ground myself a bit, I pulled our McIntsoh classic off the shelf. The MA 7900 is no longer the latest and is no longer in the American range. And yet it represents this special American way of sound, which is still very impressive: always touring comfortably warm from below, but always extremely strong when you press the accelerator.
But even though the Mac has at least four times the performance of the Octave, this was only noticeable at very high volumes. At normal to higher levels, the tube amp often seemed a bit faster and more powerful. And it always sounded a lot more open and finer in the mids: voices had a very special (should I say “beautiful”?) flair with the Octave. Everything had such a pleasant clarity and velvety quality. This is extraordinary.
Of course we also heard the V70 Class A against our current amplifier reference, the Westend Audio Monaco. With its 2 x 100 watts it is actually a bit more agile and allows the bass drums to bang even tighter. It also gave an even more stable impression of space. The Octave doesn't sound quite as grippy, but in many places it gives a slightly more cultivated subtlety - for example when it draws the harp strings a little more finely. Either way: You are operating at a very high level here.
Conclusion Octave V70 Class A
Class A: HiFi connoisseurs know the advantages of this circuit concept, which generally sounds finer and cleaner due to the lack of crossover distortion. However, Class-A also stands for high power consumption and low performance, and so Octave boss Andreas Hofmann has devised his own type of Class-A, which, in case of doubt, leaves it alone and opens up a greater scope for performance.
Another example of the “German” approach to the subject of tube amplifiers can be seen in the diverse and clever equipment as well as the fact that this amplifier is likely to have a long life thanks to flawless workmanship and tried and tested “gentle” circuits
Ultimately and above all, the Octave V70 Class A is an excellent, natural-sounding tube integrated amplifier that undoubtedly occupies a special position in its class and also keeps the audiophile's instinct to play alive with a variety of options for trying out and sound tuning...
Date: 2024-03-25
輯錄自《音響技術》
英國 PMC 以他們改良自歷史悠久傳輸線 Transmission Line 技術的 ATL (Advanced Transmission Line) 聲箱設計享譽全球,近年他們再為獨豎一幟的聲箱處理手法加入 Laminair 空氣動力調諧氣孔技術,把 PMC 揚聲器的聲效表現和質素拓展至另一水平!
ATL 與 Laminair 完美結合
由於 PMC 擁有先進又有效的揚聲器處理技術,無論是用於專業市場還是民用產品都備受各方關注,而且由於不少技術均來自專業範疇,縱使是售價不高的民用產品也維持高性能,就好像剛剛面世的 Prodigy 揚聲器系列便是個理想例子。...
讓低頻更為乾淨利落
Oliver Thomas 其實是 PMC 創辦人 Peter Thomas 的兒子,他在加入 PMC 團隊出任總設計師前曾於 F1 方程式車隊工作一段時間,對於氣流及風阻等理論有一定認識,因此,子承父業的他為了讓 PMC 揚聲器表現更進一步,嘗試把這方面的專長和相關技術,巧妙地移植到新一代的 PMC 揚聲器上,經過深入研究和分析後,發覺 Transmission Line 揚聲器雖然擁有多方面優點,但低頻音波在傳輸線內幾經轉折,在離開 ATL 管道設計的出口時會產生湍流現象,...... 為了解決這方面的各種問題,Oliver Thomas 應用類似於方程式賽車進氣口擾流板的設計,加諸到 ATL 傳輸線的出口位置處,務求改善湍流現象,提升導流效率,讓音波能夠順利地往前傳送,務使低頻表現更加精準快速,而且表現得乾淨利落。這套理論的樣板設計在通過英國國家物理實驗室的確認後,PMC 把這種革命性技術取名為 Laminair,並全面應用在他們的旗艦監聽揚聲器 QB1 上,後來再在 2016 年用於 Twenty5 系列,現在 PMC 更把這種技術實施到售價不高的兩款 Prodigy 系列二路二單元的揚聲器上,有助提升售價親民揚聲器的音效水平,...
失真和音染兩者俱低
今次以 Marantz Model 30 合併放大器驅動 PMC prodigy 1 揚聲器使用,配合的訊源系統包括 Marantz SACD-30n 和網絡串流播放系統 Cambridge CXN100,... 由於 PMC 特為 Prodigy 1 內置有效長度 1.91m 的傳輸線結構,並擁有理想阻尼,現得力於獨特的 ATL 聲箱處理技術,配合 Laminair 排氣口裝置,... 因此以這對書架揚聲器聽 Hauser 以大提琴演奏巴赫的〈Air on a G String〉,低頻雄渾而富彈跳力,讓這首作品既柔美自然又顯得生動活潑,... 而中島美嘉在《Dears》演唱來自日本電影《初戀》的一首〈Hatsukoi〉作品,效果同樣美妙,可見 Prodigy 1 除了低頻表現得乾淨利落外,所現聲音亦滿載著感性情懷,... 高音精細具分析力而又不會有過份尖削問題,可見 Prodigy 1 雖然售價不高,但就像 PMC 專業揚聲器一樣,無論失真和音染兩者俱低,能夠迎合不同音樂重播需要。
總結:
PMC Prodigy 1 雖然只售萬多元,但仍然保留在英國 PMC 廠房內製造,而所用驅動單元都是經過精挑細選,是 PMC 的精選產品,這個系列的聲箱表面不作額外處理,反而像專業揚聲器般採用黑色噴漆處理,使 Prodigy 1 帶有專業揚聲器的獨特風格但卻又並非完全相同,因為所用的是種別於專業揚聲器的燻黑而是略帶光澤的絲絨黑色,觸感輕柔細膩,更適合進入大眾的家居環境!
點擊閱讀全文: https://reurl.cc/yYq8jD
Date: 2024-03-22
英國 Rogers 的歷史可以追溯到 1947 年,如今,Rogers 揚聲器在 Andy Whittle 的指導下在英國生產,Andy Whittle 是 LS 3/5A 最重要的專家之一。多年來曾在多家公司工作,包括 Audio Note UK、Celestion、Mordaunt-Short 和 Exposure。......
Date: 2024-03-20
Building on the design of Chord’s OdysseyX speaker cable, the EpicX adds a high-frequency combination shield and translucent PVC jacket for an improved performance. The twisted-pair cable uses silver-plated 12 AWG oxygen-free copper in both of the conductors, which are insulated with an XLPE dielectric. The EpicX is then screened utilising a high-density foil and 93 percent coverage metal braid. It is sheathed in a translucent brown outer PVC jacket and at each end the two wires are separated and finished off neatly in a ‘trousers’ configuration. They can either be supplied factory terminated with Chord Company ChordOhmic plugs or terminations fitted by participating dealers that have access to Chord’s ChordOhmic Hex Gun tool – allowing for tailor-made lengths.
Using the cable between my valve monoblocks and transmission line speaker, my 15IPS copy-master tape from UltraAnalogue Recordings featuring a live recording of Alena Baeva and Vadym Kholodenko playing Schubert’s Rondo Brilliant in B minor, Baeva’s sprightly and energetic violin flows effortlessly with a commanding brilliance. Kholodenko’s piano adds another dimension, ensuring that the two instruments integrate quite beautifully.
X marks the spot
The EpicX effortlessly delivers the commanding authority and power of the performance and conveys the air and space of the recording hall. The clarity and dynamics of the instruments are in perfect proportion to the ambience of the environment, all of which is impeccably recreated in my listening room.
Listening to Pierre Gossez’s Come Bach, the final movement from Sonata is a Jacques Loussier composition played on the saxophone with harpsichord, piano and drums. I am rushed along by the energy of the track, while all of the instruments are crystal clear and well defined. The EpicX is excellent value for money for a screened speaker cable and really delivers a high-quality sound.
Date: 2024-03-19
If the CD is a dying format, why are so many hi-fi manufacturers introducing new CD players? I’ve been pondering this question whilst perusing Exposure’s lastest press release. The British manufacturer has just announced a new CD player called the 3510.
The top-loading-plus-puck model puts a Burr-Brown PCM1704 chipset in a dual-mono configuration for analogue signal exit via a pair of rear-panel RCA sockets. Already have a DAC? The neighbouring coaxial and TOSLINK sockets allow the 3510 to be used as a CD transport. Exposure asserts that the 3510’s high-stability crystal clock and the transport mechanism’s power supply regulator ensure low-jitter performance.
Just as important as the DAC chip/s themselves is the 3510’s fully discrete output stage that also comes with “multiple stages of [power] supply regulation”. That power supply is overseen by a large toroidal transformer that has separate windings for the transport mechanism and the audio stages.
The 3510 is wrapped in an aluminium chassis with an extruded front panel. Interestingly, Exposure claims that turning off the front panel display with the supplied remote control can elevate the unit’s sound quality.
Back to our opening question. The CD remains the most practical and most affordable physical format available right now. That makes it the most easily collectible. Furthermore, unlike a download, the CD allows us to get hands-on with the format with the option to rip it to a hard-drive in minutes; that is, should we want to stream its contents across our home network or out in the street with Roon ARC or Plexamp. Lastly, what we listen to on CD isn’t tracked by a mega-corporation.
Exposure’s 3510 CD player is available now. Your can choice of black or silver.
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